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    <title>Kishore Kumar</title>
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        <h1>Kishore Kumar</h1>
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        <h2 id="heading">About The Legend</h2>
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            <li>Kishore Kumar, original name Abhas Kumar Ganguly, (born August 4, 1929, Khandwa, British India—died
                October 13, 1987, Bombay [now Mumbai]), Indian actor, playback singer, composer, and director known for
                his comic roles in Indian films of the 1950s and for his expressive and versatile singing voice, which,
                in the course of a career that spanned nearly four decades, he lent to many of India’s top screen
                actors.
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            <li>Kishore Kumar was born in a Bengali Brahmin Ganguly family in Khandwa, Central Provinces (now in
                Madhya Pradesh) as Abhas Kumar Ganguly. His father, Kunjalal Ganguly (Gangopadhyay) was a lawyer and
                his mother, Gouri Devi came from a wealthy Bengali family and was a home-maker. Kunjalal Gangopadhyaya
                was invited by the Kamavisadar Gokhale family of Khandwa to be their personal lawyer. Kishore was the
                youngest of four siblings, the older three being Ashok (the eldest), Sati Devi, and Anoop.
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            <li>In his early years of on-screen celebrity, Kumar appeared principally in slapstick comedies, which
                revealed his flair both for humorous roles and for singing. In Bimal Roy’s Naukri (1954) and in
                Hrishikesh Mukherjee’s directorial debut, Musafir (1957), he played an unemployed young man desperately
                seeking a job to support his family.
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            <li>Kumar’s rise to the top of India’s pool of playback singers was an extraordinary feat. Unlike his
                colleagues in the profession, most of whom were trained in Indian classical music, Kumar had no formal
                music training whatsoever. Nevertheless, he was a skilled imitator, interpreter, and innovator. He used
                colourful timbral effects—such as yodeling—in his vocalizations, experimented with electric organs and
                other atypical instruments in his accompaniments, and enlivened his performances with upbeat rhythms.
                All those features ultimately imparted an appealing sense of modernity to Kumar’s overall sound.
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            <li>Kumar reached his peak as a comic actor with the film New Delhi (1956), in which he played a North
                Indian Punjabi pretending to be a South Indian Tamil so that he would be able rent a room in New Delhi,
                and in the self-produced film Chalti ka naam gaadi (1958; “That Which Runs Is a Car”), which starred
                three brothers—Ashok Kumar, Anoop Kumar, and Kishore Kumar—in the roles of three brothers whose lives
                are upended by two women who present a threat to the brothers’ vow of bachelorhood.
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            <li>In the late 1940s Kishore Kumar collaborated with the leading actor Dev Anand by serving as his playback
                singer—the voice for his songs. For the next two decades Kumar sang primarily for Anand, and the
                partnership between the versatile crooner and the romantic film star created a musical gold mine in
                films such as Munimji (1955), Funtoosh (1956), Nau do gyarah (1957), and Jewel Thief (1967). A new high
                point in Kumar’s career came in 1969: the film Aradhana catapulted Rajesh Khanna to superstardom, and
                Kumar, who had lent his voice to Khanna, became the leading playback singer of the Hindi film industry.
                Kumar retained that position until he died.
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